July 2023
The new release by Julia Fischer and Kirill Troussov on Orchid Classics is a true gem for chamber music enthusiasts. Bringing together two of the world’s most sought-after violinists, this album features rarely-heard 20th-century Russian chamber pieces: Dmitri Shostakovich’s Five Pieces for Two Violins and Piano, and Sergei Prokofiev’s Sonata for Two Violins.

The exploration of two violins duetting and engaging in a musical dialogue is at the heart of both compositions, making this repertoire a perfect showcase for the natural rapport and exceptional artistry of Fischer and Troussov. Their chemistry and deep understanding of the music shine through each note, captivating the listener from start to finish.

The album begins with Shostakovich’s Five Pieces for Two Violins and Piano, beautifully arranged by Lev Atovmyan. In the Prelude, the violinists immediately draw the listener into their world with a sense of anticipation and mystery. The Gavotte follows with its tranquility and lightness, demonstrating the artists’ impeccable phrasing and seamless coordination.

Moving on to the Elegy, Fischer and Troussov skillfully convey the emotional depth of the piece, leading to the enchanting Waltz with its charming waltzing rhythm. The finale, Polka, brings a burst of energy and vivacity, showcasing the violinists’ virtuosic flair and playful spirit.

The second half of the album features Prokofiev’s Sonata for Two Violins in C Major, Op. 56, a rarely performed gem in the violin repertoire. Fischer and Troussov handle this demanding work with grace and passion, delving into its various moods and nuances. The first movement, Andante cantabile, unfolds with a lyrical and expressive quality that tugs at the heartstrings.

In the Allegro, the violinists display their technical prowess, effortlessly navigating the intricate passages and intricate rhythms. The Commodo, quasi allegretto offers a gentle and charming respite, before the duo launches into the vibrant and spirited Allegro con brio, leaving the listener exhilarated.

Throughout the album, Julia Fischer and Kirill Troussov’s playing is marked by precision, sensitivity, and a profound musical understanding. Their seamless ensemble and unified phrasing create a captivating listening experience. The sound engineering by Orchid Classics perfectly captures the depth and intimacy of their performances.

Individually, Fischer and Troussov are celebrated violinists, and their collaboration on this album is a testament to their remarkable talent and artistic vision. Their partnership brings out the best in each other, resulting in a compelling and memorable musical encounter.

In conclusion, Julia Fischer and Kirill Troussov’s violin duos release is a captivating exploration of musical brilliance and a delightful addition to the chamber music repertoire. With their impeccable artistry and innate chemistry, they breathe new life into these lesser-known works, making this album a must-have for any classical music enthusiast’s collection. Prepare to be enchanted by the mesmerizing world of Fischer and Troussov as they take you on a mesmerizing journey through the heart of Russian chamber music.

July 2023
Christian Li, the young and talented violinist who shot to fame in 2018 by winning the Junior Category of the Yehudi Menuhin Competition at just ten years old, returns with a captivating new album, “Discovering Mendelssohn,” released by Decca Classics. In this collection of works, Li pays homage to composer Felix Mendelssohn, presenting pieces that hold special significance in the composer’s heart.

The album opens with Mendelssohn’s cherished “On Wings of Song,” tenderly arranged for strings and harp. Li’s performance is nothing short of mesmerizing as he weaves his way through the piece, tastefully embellishing the melody and infusing it with genuine emotion. His flawless technique and seamless phrasing reveal a level of artistry beyond his years.

Moving on to Mendelssohn’s “Rondo Capriccioso, Op. 14,” accompanied by Lawrence Matheson and arranged by Abram Yampolsky, Li impresses with his warm and heartfelt interpretation. The Rondo comes alive with Li’s nimble and virtuosic playing, captivating listeners with his mature approach and extraordinary skill. The bravura coda leaves a lasting impression, a testament to Li’s remarkable talent.

In the iconic “Serenade” from Schubert’s “Schwanengesang,” Li and his accompanying artist deliver a poignant and soul-stirring rendition. Mischa Elman’s arrangement provides the perfect backdrop for Li’s expressive and sensitive performance, taking us on a nostalgic journey through the heartfelt song.

Li’s partnership with pianist James Baillieu comes to the fore in Mendelssohn’s “Spring Song,” Op. 62. Together, they breathe life into this popular piece, infusing it with joy and jubilation. Li’s endearing performance captures the essence of spring, leaving us uplifted and captivated.

The centerpiece of the album is Mendelssohn’s “Violin Concerto in E minor, Op. 64,” where Li joins forces with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This concerto, a favorite of audiences and violinists alike, showcases Li’s mastery as he effortlessly navigates its intricacies. With warmth, passion, and an unwavering sense of musicality, Li’s interpretation is nothing short of remarkable, making this a standout recording that is sure to be treasured by classical music aficionados.

Li’s collaboration with cellist David Berlin in J.S. Bach’s “St Matthew Passion” adds a soulful dimension to “Erbame Dich, mein Gott.” The arrangement effectively conveys the poignant emotion of the piece, and the interplay between the violin and cello is beautifully executed.

Wolfgang Amadeus Mozart’s “Violin Sonata No. 21, K 304” finds Li and Baillieu in perfect harmony once again. The reflective and emotive performance is a testament to their musical connection, delivering a moving and memorable rendition of this work.

The album concludes with Mendelssohn’s delightful “Venetian Gondola Song” from “Songs Without Words.” Li’s collaboration with guitarist Xuefei Yang creates a delightful soundscape, capturing the essence of Venice as imagined by the composer. This charming and delightful piece is the perfect ending to an enchanting musical journey.

While initially skeptical of combining a well-known concerto with smaller pieces, often considered as encores or salon music, the album’s flow works splendidly. Christian Li’s artistry impresses with his assured technique, passion, agility, and grace, while also revealing a depth of musical feeling and maturity well beyond his years. This album is a must-have addition to any classical music collection, and it firmly establishes Christian Li as a rising star in the world of classical violinists. Bravo to this remarkable young artist!

July 2023
Dudok Quartet Amsterdam delivers an enchanting auditory exploration with their latest release, “What Remains.” A symphony of diverse compositions, ranging from centuries past to the contemporary, this album takes listeners on an immersive journey through time and sound. While occasionally missing a visual element, the quartet’s impassioned performance leaves an indelible mark, particularly in the title work by Joey Roukens.

The eponymous centerpiece of the album, Roukens’s “String Quartet No. 4 ‘What Remains,'” is a musical odyssey that delves into the realms of memory, form, and music itself. The quartet’s rendition resonates with fervor and connection, inviting audiences to embark on an introspective expedition. Roukens’s quartet is a captivating tapestry, woven with intricate threads of emotion that unravel with each subsequent listen, revealing the depths of its artistic brilliance.

“What Remains” embraces a sweeping range of compositions, from the early notations of Pérotin’s “Viderunt omnes” to the enigmatic madrigal by Gesualdo. These historical pieces act as pillars, framing the hauntingly powerful performances of Olivier Messiaen’s celestial “Oraison” from “Fête des belles eaux” and Steve Reich’s immersive “Different Trains.” The album’s thematic focus on time, motion, and journeys is poetically expressed through this eclectic selection, offering a sonorous glimpse into the continuum of human experience.

A standout gem, Steve Reich’s “Different Trains,” unfurls as a cinematic masterpiece, intertwining a World War II narrative with magnetic tape effects and evocative voiceovers. The quartet’s rendition captures the essence of the composition’s emotional depth, though at times, the recorded sound’s constraints prevent the full realization of its grandeur, imparting a peculiar dryness and confinement.

While the conceptual through-lines of time and motion occasionally meld less seamlessly across the album’s eclectic array, Dudok Quartet Amsterdam’s impassioned and intense performance bridges these realms. The quartet’s dedication to Roukens’s opus and the wider repertoire is palpable, drawing listeners into an enchanting auditory world that ignites the imagination.

In summation, “What Remains” is a meticulously curated mosaic of sound that beckons listeners to contemplate the elusive passage of time and the spectral echoes of history. Despite minor limitations in capturing the full auditory spectrum, the Dudok Quartet Amsterdam’s masterful interpretations, particularly of Joey Roukens’s resonant quartet, make this album an enriching and immersive journey for aficionados of classical and contemporary soundscapes alike.

July 2023
In the realm of classical music, innovation and reinterpretation often breathe new life into beloved compositions, and “The Chopin Project” by cellist Camille Thomas stands as a showcase of this creative spirit. Thomas takes on the monumental task of transcribing Chopin’s quintessentially pianistic works for the cello, producing a triple album that offers a unique perspective on the masterful composer’s creations.

At first glance, the idea of translating Chopin’s intricate piano compositions to the cello might raise eyebrows, but historical precedent reveals that such a fusion would not have been out of place during the 19th century. Augmented by the contributions of Chopin’s friend, cellist Auguste Franchomme, these transcriptions bridge the gap between two instrumental worlds, yielding a fresh sonic landscape that invites both scrutiny and admiration.

Divided into three distinct sections, the album traces the evolution of this daring project. The initial CD boasts arrangements for cello and piano, not only by Franchomme but also by Thomas herself and other skilled musicians. Thomas’s performance is imbued with a profound understanding of Chopin’s lyricism, yet her execution remains controlled, fitting seamlessly into a chamber music context. An unexpected gem on this disc is a rendition of Jane Birkin and Serge Gainsbourg’s “Jane B.,” interwoven with Chopin’s Prelude in E minor, Op. 28, No. 4, demonstrating the eclectic scope of Thomas’s vision.

The second segment delves into Chopin’s complete chamber music, some of which receives Franchomme’s transformative touch. This exploration provides a rich opportunity to appreciate Chopin’s compositions through a different lens, revealing intricate details that might be overshadowed on the piano.

The third and final CD showcases Chopin’s works reimagined for multiple cellos, courtesy of Franchomme’s innovative arrangements. Furthermore, Emanuel Schmidt’s cello and string quartet version of the Cello Sonata, Op. 65, adds an extra layer of depth to the project. Notably, Franchomme’s own compositions, included in this section, once masqueraded as authentic Chopin pieces, a testament to his mastery and the era’s blurred lines between composers.

Camille Thomas, the driving force behind this endeavor, emerges as an inspired cellist. Her dedication to uncovering the Chopin-Franchomme connection is evident in her meticulous research and heartfelt performances. While experiencing the entirety of “The Chopin Project” in one sitting might be a formidable task, the album offers an invaluable contribution to the Chopin discography. This release caters to both ardent Chopin enthusiasts and those seeking a novel perspective on classical music history.

“The Chopin Project” by Camille Thomas is a bold and imaginative exploration of Chopin’s compositions through the lens of the cello. Thomas’s artistry and dedication shine through, offering a multifaceted listening experience that challenges preconceptions and enriches the world of classical music. This album is a worthy addition to any serious Chopin lover’s collection and a demonstration of the enduring spirit of musical innovation.

July 2023
Maria Dueñas, at just 20 years old, makes a striking DG debut with “Beethoven and Beyond,” showcasing her gleaming and heavily vibrato-laden tone, along with a proudly legato delivery and phrasing filled with captivating little emphases. The highlight of the album is her highly individual and memorable rendition of Beethoven’s Violin Concerto, recorded live over three Vienna Musikverein performances.

Dueñas’ interpretation of the Beethoven Violin Concerto is undeniably Romantic in every sense, but it’s cleverly balanced by the slightly crisper and noble-flavored orchestral support provided by her mentor, Manfred Honeck. Honeck’s guidance keeps a tight hold on the momentum of the first movement, skillfully navigating through marked slowings for the super-hushed minor-key episodes and coda re-entry. Particularly noteworthy is how Honeck allows the bassoonist to shine through the orchestral texture, adding an extra layer of brilliance to the performance. While this rendition may not suit those seeking a more brisk and energetic approach, its finely balanced nature will enchant listeners with its emotional depth.

Adding a unique touch to the concerto, Dueñas showcases her talent as a composer by providing three brand new self-penned cadenzas. These bold and languorously romantic creations add a fresh perspective to the familiar piece, with the finale’s cadenza being the most striking of the trio. Dueñas’ creativity and artistic expression shine through these compositions, demonstrating her prowess not only as a performer but also as a gifted composer.

The album continues with a selection of short works by composers who also wrote first-movement cadenzas for Beethoven’s concerto. These pieces play brilliantly to Dueñas’ warm-blooded virtuosity, further highlighting her exceptional skill on the violin. However, it is worth mentioning that a missed opportunity occurs by not programming each work alongside its respective composer’s Beethoven cadenza. This could have offered a unique variation and provided insights into how these composers translated their musical languages into Beethoven’s concerto. Nonetheless, the album’s overall impact remains powerful and captivating.

Maria Dueñas’ “Beethoven and Beyond” is an impressive debut album, where her remarkable talent and artistry shine brightly. Her interpretation of Beethoven’s Violin Concerto is highly individual and emotionally charged, enriched by the excellent orchestral support from Manfred Honeck. The addition of her self-composed cadenzas adds a personal touch to the iconic concerto, showcasing her versatility as a musician. While the missed opportunity in programming the short works alongside their respective cadenzas is notable, the album still packs a punch and leaves a lasting impression. Maria Dueñas undoubtedly has a promising future ahead as both a performer and composer in the classical music world.

July 2023
Alpesh Chauhan and the BBC Scottish Symphony Orchestra embark on an insightful voyage into the realm of Tchaikovsky’s compositions in their latest release. Featuring “The Voyevoda,” “The Tempest,” “Francesca da Rimini,” and excerpts from “Cherevichki,” this album unveils Chauhan’s profound understanding of Tchaikovsky’s musical language while showcasing the orchestra’s exquisite responsiveness.

“The Voyevoda,” a work overlooked by the composer himself, comes alive under Chauhan’s skilled direction. The performance opens with a brisk tempo, immediately capturing the listener’s attention. Chauhan deftly navigates the shifts between haunting bass clarinet passages and impassioned love themes, leading to a chilling conclusion punctuated by gunshot-like sounds. The BBC Scottish Symphony Orchestra responds with remarkable sensitivity, vividly illustrating the dramatic narrative.

Chauhan’s interpretation of “The Tempest” continues this exploration of dramatic intensity, immersing the listener in a vivid sonic representation of the Shakespearean tale. The quasi-impressionistic opening establishes a captivating mood, gradually building into a tempestuous storm, with the orchestra portraying both the fury and fleeting moments of calm. The orchestra’s delicate strings create an atmosphere of enchantment, artfully phrasing the emerging love theme amid the turmoil.

The excerpts from “Cherevichki” demonstrate Tchaikovsky’s inventive spirit, convincingly presented by Chauhan and the orchestra. The performance captures the opera’s charm and wit, showcasing Chauhan’s ability to breathe life into lesser-known pieces and infusing them with vibrancy.

The pinnacle of the album arrives with a compelling rendition of “Francesca da Rimini.” Chauhan guides the orchestra through passages of fervent energy, mirroring the blossoming and tragic love affair between Paolo and Francesca. The orchestra’s performance is particularly commendable during the climax of the middle section, where the emotional intensity is palpable. While the opening Wagnerian chords might lack some gravitas, this minor concern does little to diminish the overall impact of the interpretation.

Throughout the album, Alpesh Chauhan’s deep connection with Tchaikovsky’s works shines through, skillfully leading the BBC Scottish Symphony Orchestra through intricate passages and sweeping emotional landscapes. The orchestra’s responsiveness is remarkable, breathing life into each note and capturing the essence of Tchaikovsky’s intricate orchestrations.

In summation, this CD highlights Chauhan’s impressive grasp of Tchaikovsky’s musical language and the orchestra’s impeccable playing. Whether you are a seasoned admirer of Tchaikovsky’s compositions or a newcomer eager to explore the depths of Romanticism, this album is a must-listen. It offers an immersive exploration of Tchaikovsky’s evocative symphonic world, illuminated by Alpesh Chauhan and the BBC Scottish Symphony Orchestra’s artistry.

July 2023
Renaud Capuçon (violin) and Kit Armstrong (piano) present an enthralling journey into the world of Mozart’s mature violin sonatas in their latest release, “Mozart: Sonatas for Piano and Violin.” This Deutsche Grammophon offering showcases Violin Sonatas Nos 17-28, 32-33, and 35-36, alongside delightful variations that bring out the duo’s mastery of their respective instruments.

Capuçon’s discerning choice to exclude Mozart’s earlier violin sonatas, written during his childhood, allows for a focused exploration of the composer’s more mature works. The decision emphasizes the substantial development of the violin and piano as equal partners in this period, underpinning the evolution of the medium itself.

A highlight of the album is the enchanting interplay between the two instruments, effectively shifting between foreground and background roles. Mozart’s ingenuity unfolds as the performers navigate seamless transitions, exemplified by the C major Sonata K303. Here, the dialogue between slow and fast passages in both movements demonstrates Mozart’s creativity at its peak.

The album features two sets of variations, presenting lighter musical material that balances the weightier sonatas. Capuçon and Armstrong’s skillful execution imbues these variations with a sense of playfulness and charm, inviting listeners into Mozart’s musical playground.

The treasures of this collection, however, lie in the later sonatas. The B flat Sonata K454 shines as a masterpiece, with its exceptionally beautiful Andante second movement. Historically significant, it was composed for an Italian violin virtuoso, and Mozart’s improvisational prowess is palpable in Armstrong’s sensitive piano part.

The A major Sonata K526, with its technical demands and grand scale, further showcases the duo’s profound artistry. Capuçon’s violin artfully converses with Armstrong’s modern Bechstein piano, creating a rich tapestry of sound that encapsulates the essence of Mozart’s mature compositions.

Throughout the album, Capuçon’s violin tone exudes a controlled brilliance, hinting at his vast resources while maintaining a sense of restraint. This dynamic partnership between the violinist’s finesse and Armstrong’s poised piano performance results in interpretations that capture the music’s inherent freshness and spirit.

 Renaud Capuçon and Kit Armstrong’s  insightful interpretations bring to life the composer’s intricate dialogues between violin and piano, shedding light on the genre’s evolution. This album is a must-listen for both aficionados of Mozart and enthusiasts of chamber music alike.

June 2023
Eva Saladin’s sophomore solo album is a wonderful exploration into the depths of the 17th-century violin world, shedding light on the enigmatic genius of Giovanni Antonio Pandolfi Mealli. A virtuosic violinist in her own right, Saladin embarks on a journey that unfolds the mysteries of Pandolfi Mealli’s Violin Sonatas Opp 3 & 4, weaving a delicate tapestry of sound that resonates with elegance and emotion.

Within this auditory reverie, Saladin displays impeccable technical finesse. Her bow dances effortlessly across the strings, each note executed with precision and grace. The ensemble’s cohesion is a testament to Saladin’s prowess, as the harmonious interplay between violin and continuo creates a seamless sonic experience. While some may seek bombast, Saladin’s measured approach allows the intricate nuances of Pandolfi Mealli’s compositions to shine through.

A highlight of this album is Saladin’s ability to capture the essence of each sonata. She masterfully navigates the intricate ornamentations and captivating Lombardic passages, immersing the listener in a world of musical intricacies. The subtlety of her interpretation serves as a reminder that sometimes, less is more—a sentiment that allows Pandolfi Mealli’s ingenious craftsmanship to take center stage.

Comparisons to other interpretations become irrelevant when Saladin’s unique vision unfolds. Her rendition of La Vinciolina, Op 4 No 6, while distinct from others, is no less enthralling. The intimacy of her performance draws the listener in, inviting them to explore the labyrinthine corridors of the composer’s mind. Through Saladin’s expert touch, the second section blossoms with a sweetness that lingers long after the final note.

Saladin’s choice to open with La Cesta, Op 3 No 2, displays her insight into the narrative arc of the album. Each note resonates with purpose, as if revealing the layers of a complex story. The interplay between violin and continuo creates a sense of dialogue, a conversation that unfolds with both subtlety and fervor. Johannes Keller’s organ adds a layer of mystique, enhancing the sonic palette with its rich timbre. In the grand tapestry of Baroque violin, Eva Saladin’s interpretation is a thread of captivating allure. Her journey through Pandolfi Mealli’s works unearths a sense of wonder and discovery, inviting the listener to partake in the unveiling of musical secrets. While some may seek more flamboyant renderings, Saladin’s understated elegance paints a portrait of enchantment that lingers in the mind, beckoning listeners to explore the depths of PANDOLFI MEALLI Violin Sonatas Opp 3 & 4 again and again

June 2023
Yulianna Avdeeva, the remarkable Russian pianist whose indomitable spirit has captivated audiences, unveils her latest musical journey, “Resilience,” in a breathtaking album released under the Pentatone label. Avdeeva’s prowess at the piano is showcased through an exquisite selection of works by Prokofiev, Shostakovich, Szpilman, and Weinberg, each composition reflecting her profound connection to the musical heritage of Eastern Europe.

Avdeeva’s resolute stance on current events, particularly her outspoken views on the war in Ukraine, adds a layer of poignant significance to her performance. As the winner of the prestigious Chopin Competition in 2010, Avdeeva’s affinity for Polish music is palpable, and it resonates throughout this remarkable collection.

The album commences with Władysław Szpilman’s hauntingly nostalgic 1942 Mazurka, a delicate and touching tribute to a bygone era. Avdeeva’s delicate touch and nuanced phrasing infuse the piece with emotion, capturing the essence of Szpilman’s reminiscences. The more avant-garde elements of Szpilman’s compositional language are boldly explored in his “Life of the Machines” suite from 1933. Avdeeva navigates through the intricate rhythmic patterns and shifting textures, revealing the evolution of musical language during a time of societal transformation.

Mieczysław Weinberg’s Piano Sonata No. 4 offers a profound contrast, with its introspective and consoling Adagio. Avdeeva’s interpretation delves deep into the emotional core of the piece, unraveling its intricate layers and poignant melodies. The Polish-born composer’s experiences and tribulations are eloquently conveyed through Avdeeva’s sensitive and empathetic touch.

A cornerstone of the album is Dmitri Shostakovich’s Piano Sonata No. 1, composed during a time of uncertainty as the young composer was carving his path in the world of music. Avdeeva captures the essence of Shostakovich’s inner turmoil, infusing the piece with both angst and hope, paying homage to the composer’s resilience and artistic vision.

The pinnacle of “Resilience” arrives with Sergei Prokofiev’s monumental Piano Sonata No. 8, the final and longest of his three “war sonatas.” Avdeeva’s interpretation demonstrates her masterful command of the piano’s tonal palette and structural intricacies. While her approach may differ from more aggressive interpretations, her deliberate restraint lends a refreshing perspective, allowing the work’s thematic complexity to unfold with clarity. The sonata culminates in an exhilarating finale that showcases Avdeeva’s technical brilliance and emotional depth.

 Yulianna Avdeeva’s  profound connection to the music and history of Eastern Europe is palpable, as she navigates through a diverse array of compositions with a keen musical intellect and unparalleled emotional depth. Avdeeva’s ability to capture the essence of each piece while infusing her personal narrative makes “Resilience” a truly captivating and introspective musical journey that will resonate deeply with listeners.

June 2023
In their latest release, “Lebensmuth,” the Signum Quartett embarks on a musical expedition that delves into the profound world of Franz Schubert’s compositions. This ensemble demonstrates an unwavering commitment to precision and emotional resonance, leading to an intricate tapestry of musical expression.

The crowning jewel of the album is undeniably Schubert’s final string quartet, No. 15 in G major, D887. The Signum Quartett’s meticulous approach shines brilliantly in this work. The slow movement, in particular, stands out for its passionately rendered visionary middle section, enveloping the listener in a sonic reverie. The quartet’s deliberate tempo choice for the tarantella-like finale provides a unique perspective, enhancing the music’s emotional depth. It’s worth noting, however, that a ponderous ritardando during the final two chords slightly interrupts the overall fluidity of the performance.

Schubert’s inaugural string quartet, D18, serves as a poignant reminder of the composer’s formative years. Written when Schubert was a mere 13 years old, this quartet reflects an affinity for orchestral elements and a touch of rigidity inherent to youthful experimentation. While lacking the intricate sophistication of his later compositions, D18 offers a glimpse into Schubert’s burgeoning artistry.

The album also introduces song arrangements thoughtfully crafted by Xandi van Dijk, the quartet’s viola player. These adaptations breathe new life into Schubert’s Lieder, seamlessly transitioning them into the chamber music domain. Yet, some arrangements may leave listeners yearning for the grandeur and intricacy found in the original vocal renditions, as the nature of chamber instrumentation occasionally trims away layers of complexity.

“Lebensmuth” by Signum Quartett emerges as a profound exploration of Schubert’s legacy, aptly portraying the quartet’s meticulous craftsmanship and emotional depth. While the spotlight shines brightest on the interpretation of Schubert’s final quartet, the inclusion of his early work and the artful song arrangements enrich the musical mosaic. The Signum Quartett’s dedication to interpreting Schubert’s compositions with sensitivity and innovation solidifies this release as a significant addition to the classical music aficionado’s library.